On Magna Carta’s opening track, a song dominated by Timberlake’s singing, Jay-Z pops in just enough to rattle off n*gga eight times. He’s perfected the art form of repeatedly saying the N-word over slickly produced musical beats while telling stories about fame, fortune, family and a former life of crime. Jay-Z’s music is a Cosby Show-New Jack City-MTV Cribs mashup narrated by Django Unchained house slave Stephen. Jay-Z’s success and his exalted status in the black community speak to the power of our self-hatred, delusional ignorance and unwillingness to learn from our history. There’s always been a comfy bed, a pretty belly-warmer and a bright spotlight at the big house for the black performer willing to entertain the masses with n*gga tales. Jay-Z is not slang for Jesus. Hova is no one’s savior. He’s a new-millennium Stephen. He’s highly compensated to spin catchy fairy tales that promote the self-destructive notion that the path out of black American poverty and into the American Dream is through the drug trade and criminality. "Our political system — on the right and left — is so bankrupt of ethics that President Obama has zero shame about embracing the king of black-denigration music."
Posted on: Tue, 09 Jul 2013 22:14:56 +0000
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